From the Iranian Spenta Armairi to the heretic sophiology of Russian Christendom, from the Hydesville Fox sisters to the founder of the Theosophical Society Helena Petrovna Blavatsky and to Maria Montessori, from Catherine Deshayes’s philters (best know as Le Voisin) to the prophetess Lucie Grange, from the illustrator Rosa Rosa’ to the painter Rosaleen Norton, the history of Western Esotericism has been constellated by symbols, themes and feminine characters. In the same way as it questioned the deepest nature of the divine, debating the validity of monotheist theologies, the theme of the female and of the feminine has enabled, throughout history of such movements, a crosspollination and a collaboration between occultist groups and initiatory societies with the world of art and politics. Without regarding the relationship between esotericism and New Religious Movements, where the symbolism and the figure of the woman manifests itself in its versatility and multifaceted aspects, taking the role, now of harbinger of knowledge, now of true guide in every individual’s spiritual path, now, more deeply, of a discovery of a more complete and paradoxical divine.